Speedy Publishing is a hybrid general interest trade publisher. One of the first of its kind Speedy publishes books, eBooks, mobile apps, pamphlets and free online resources that are meant to educate, edify and entertain readers regardless of demographic.
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We are a publisher from Germany with a selected list of children's and young adult books.
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This book is a collection of short and medium works in the series, including short and medium stories, short and medium reportage, prose, poetry and children's literature. These works are rich in the characteristics of the times and the breath of life. They show the moving deeds of Hunan's targeted poverty alleviation and targeted poverty alleviation, and demonstrate the spirit of people's struggle towards a well-off society. The theme is clear and prominent, the tone is positive, portraying and praising the most beautiful people and typical models participating in poverty alleviation and development, praising the true feelings of the world and transmitting positive social energy.
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Lukácsian film theory and cinema explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English - until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves. This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author's earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).
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'Realist film theory and cinema' embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films. The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life. Aitken's work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.
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This book offers a unique and timely reading of the early Frankfurt School in response to the recent 'affective turn' within the arts and humanities. Resisting the overly rationalist tendencies of political philosophy, it argues that critical theory actively cultivates a powerful connection between thinking and feeling, and rediscovers a range of often neglected concepts that were of vital importance to the first generation of critical theorists, including melancholia, hope, (un)happiness, objects and mimesis. In doing so, it brings the dynamic work of Walter Benjamin, Theodor Adorno, Ernst Bloch and Siegfried Kracauer into conversation with more recent debates around politics and affect. An important intervention in the fields of affect studies and social and political thought, Critical theory and feeling shows that sensuous experience is at the heart of the Frankfurt School's affective politics.
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This book focuses on Hunan province, takes the historical development of socialism with Chinese characteristics since the reform and opening up as a clue, combines the three volumes of party history and historical research in socialism with Chinese characteristics, and selects typical events as the topics to reflect the decisions, policies, and actions that have significant influence and local characteristics in the process of reform and opening up.
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De-centering queer theory seeks to reorient queer theory to a different conception of bodies and sexuality derived from Eastern European Marxism. The book articulates a contrast between the concept of the productive body, which draws its epistemology from Soviet and avant-garde theorists, and Cold War gender, which is defined as the social construction of the body. The first part of the book concentrates on the theoretical and visual production of Eastern European Marxism, which proposed an alternative version of sexuality to that of western liberalism. In doing so it offers a historical angle to understand the emergence not only of an alternative epistemology, but also of queer theory's vocabulary. The second part of the book provides a Marxist, anti-capitalist archive for queer studies, which often neglects to engage critically with its liberal and Cold War underpinnings.
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The author is Zhao Qiang, deputy editor-in-chief of Global Times. The manuscript features more than 30 political essays created by the author during his studies at the Party School of the Communist Party of China. For example, "Confidence in the system, how do you feel confident", "I really admire you, respect for truth from facts", etc .; "Theoretical study, not too utilitarian", "Popular, and then popular", etc., in-depth thinking on how to use the weapon of theory; The author changed the face of the theoretical article that was boring, hard and cold, and refused to be thousands of miles away. The reasoning was based on trivial matters, making the article have a strong sense of responsibility, the weight of the theory and the ease of the form.
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Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in unexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval film will be of interest to medievalists working in disciplines including literature, history, art history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.
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Over the last twenty-five years, the 'history of emotion' field has become one of the most dynamic and productive areas for humanities research. This designation, and the marked leadership of historians in the field, has had the unlooked-for consequence of sidelining literature - in particular secular literature - as evidence-source and object of emotion study. Secular literature, whether fable, novel, fantasy or romance, has been understood as prone to exaggeration, hyperbole, and thus as an unreliable indicator of the emotions of the past. The aim of this book is to decentre history of emotion research and asks new questions, ones that can be answered by literary scholars, using literary texts as sources: how do literary texts understand and depict emotion and, crucially, how do they generate emotion in their audiences - those who read them or hear them read or performed?
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Critical theory and dystopia offers a uniquely rich study of dystopian fiction, drawing on the insights of critical theory. Asking what ideological work these dark imaginings perform, the book reconstructs the historical emergence, consolidation and transformation of the genre across the twentieth century and into our own, ranging from Yevgeny Zamayatin's We (1924) and Aldous Huxley's Brave New World (1932) to Anthony Burgess's A Clockwork Orange (1963) and Suzanne Collins's Hunger Games series (2000s and 2010s). In doing so, it reveals the political logics opened up or neutered by the successive moments of this dystopian history.
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Populism is a powerful force today, but its full scope has eluded the analytical tools of both orthodox and heterodox 'populism studies'. This book provides a valuable alternative perspective. It reconstructs in detail for the first time the sociological analyses of US demagogues by members of the Frankfurt School and compares these with contemporary approaches. Modern demagogy emerges as a key under-researched feature of populism, since populist movements, whether 'left' or 'right', are highly susceptible to 'demagogic capture'. The book also details the culture industry's populist contradictions - including its role as an incubator of modern demagogues - from the 1930s through to today's social media and 'Trumpian psychotechnics'. Featuring a previously unpublished text by Adorno on modern demagogy as an appendix, it will be of interest to researchers and students in critical theory, sociology, politics, German studies, philosophy and history of ideas, as well as all those concerned about the rise of demagogic populism today.
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This is a popular book on relativity written by physicist Li Miao for children. Einstein's revolution in science and technology has brought great changes to our world in the 20th century. It has changed our cognition of time, space, matter and motion. A series of fantastic predictions have come true one by one, including gravitational waves detected in recent years. In this book, starting from this world-famous event, uncle Miao tells his children about the incomprehensible concepts of gravity, space-time, speed of light, etc. There are a lot of wonderful illustrations in the book, together with a variety of interesting thought experiments, to help children understand this field which has a great impact on modern physics.
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Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
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This book describes how human rights have given rise to a vision of benevolent governance that, if fully realised, would be antithetical to individual freedom. It describes human rights' evolution into a grand but nebulous project, rooted in compassion, with the overarching aim of improving universal welfare by defining the conditions of human well-being and imposing obligations on the state and other actors to realise them. This gives rise to a form of managerialism, preoccupied with measuring and improving the 'human rights performance' of the state, businesses and so on. The ultimate result is the 'governmentalisation' of a pastoral form of global human rights governance, in which power is exercised for the general good, moulded by a complex regulatory sphere which shapes the field of action for the individual at every turn. This, unsurprisingly, does not appeal to rights-holders themselves.
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Film theory: an introduction offers a highly readable account of film theory and is an indispensable resource for students. The discussion ranges from the late 1960s to the present, a period in which a number of conceptual strands, notably politics, semiotics and psychoanalysis were woven together in an ambitious synthesis. In this book, the authors chart the construction of this synthesis and its subsequent fragmentation, and clearly explain the various intellectual currents which have contributed to it. Divided into two parts, the first covers the conceptual background of film theory, dealing with historical materialism, semiotics and psychoanalysis, whilst in the second the authors concentrate on particular topics such as authorship, narrative, realism, the avant-garde and postmodernism. For this new edition, the authors have added a new foreword, a fully updated and expanded bibliography, and a 60-page Retrospect outlining developments within film theory since the book's original publication in 1988. This Retrospect identifies a number of broad readings of Theory, each with a different perspective on the main content of the book. As such, it provides a new and original mapping of the 'post-theory' moment in this complex and often fractured terrain. Accessible and authoritative, this book is essential reading for students of film theory, or indeed anyone seeking a deeper understanding of modern cinema. ;
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